Enfilade

Conference | Collecting and Display: A Matter of Access

Posted in conferences (to attend) by Editor on May 13, 2019

From H-ArtHist:

Collecting and Display: A Matter of Access
Munich, 22 June 2019; and London, 24 June 2019

Organized by Susan Bracken, Andrea Gáldy, and Adriana Turpin

Since its foundation in 2004, the international forum Collecting & Display has investigated numerous aspects of both collections and collectors. Such activity has taken place at regular seminars and at our conferences and has resulted in a number of publications. For June 2019 we plan an international conference at two venues: Munich (22nd) and London (24th). Speakers and attendees are welcome to book either part of the conference separately or both as a package. The 2019 conference aims to extend the discussion of the nature and pertinence of collections by focusing on the spaces in which they were displayed and how access to those spaces was controlled. By examining how collections were displayed, used and presented, and who had access to these spaces, we hope to develop a deeper understanding of the meaning of collections to their owners and of their significance to contemporaries.

S A T U R D A Y ,  2 2  J U N E  2 0 1 9

Ludwig-Maximilians-Universität München, Institut für Kunstgeschichte, Room 007, Zentnerstr. 31, 80798 München

10.00  Registration and welcome

10.30  Morning Talks
• Orsolya Bubriák (Institute of Art History, Research Centre for the Humanities, Hungarian Academy of Sciences), The Kunstkammer of Johann Septimius Jörger in Nuremberg
• Virginie Spenlé (Director, Kunstkammer Georg Laue Inventarisierung und wissenschaftliche Bearbeitung des Bestandes), Leonhard Christoph Sturm (1669–1719) and an Ideal Architecture for Dynastic Collections
• Mary Malloy (Fellow of the Peabody Museum of Archaeology and Ethnology, Harvard University), The Catalogue as Invitation: Recruiting Visitors to Collections in Seventeenth-Century Europe
• Catherine Phillips (Independent Scholar), Paintings, Prints, Squirrels, and Monkeys: Catherine the Great’s Hermitage

1.00  Lunch

2.00  Afternoon Talks
• Paweł Ignaczak (Academy of Fine Arts, Warsaw), A Parisian Collection in a Polish Castle: Lights and Shadows of a Prestigious Location in the Context of the Struggle for National Identity
• Cecilia Riva (Collection Cataloguer, Palazzo Ducale, Venice), ‘A Well-known Subject for Photographic Reproduction’: The Layard Collection as an Example of Nineteenth-Century Advertising
• Sarah Coviello (Warburg Institute, London), ‘A scholar collects, exhibits, and writes about it’: The Personal Study Collections of Twentieth-Century Art Historians
• Maria Höger (Department für Kunst- und Kulturwissenschaften der Donau-Universität Krems, Art / Brut Center Gugging), ‘Art Brut’ and ‘Outsider Art’ – ‘Ghettoization’ of Art and Their Creators?
• Laura Humphreys (Curatorial Project Manager at the Science Museum in London), New Frontiers for the Science Museum Group Collection

5:30  Drinks reception

M O N D A Y ,  2 4  J U N E  2 0 1 9

IHR, Senate House, Wolfson Room, Malet Street, London WC1E 7HU

9.30  Registration

9.45  Welcome and introduction

10.00  Morning Talks
• Anne Harbers (Radboud University, The Netherlands), His & Her Royal Collections: The Synergies and Symbiosis of Selecting a Publicity Channel
• Esmee Quodbach (Assistant Director of the Center for the History of Collecting at The Frick Collection and Frick Art Reference Library), To See or Not to See: The Visibility of the John G. Johnson Collection in Philadelphia, c.1880 to the Present
• Julia Rössel (Research Assistant in the project ‘Kupferstichkabinett Online’ of the Herzog August Bibliothek, Wolfenbüttel), Displaying Print Collections: Location, Site, Practice
• Anne Nellis Richter (Adjunct Professorial Lecturer, Department of Art, American University, Washington DC), ‘An Excess of Folly’: Townhouses as Public Art Galleries in Early Nineteenth-Century London
• Isobel Caroline MacDonald (University of Glasgow and The Burrell Collection), A Private Collection on Public Display: The Significance of (Sir) William Burrell’s (1861–1958) Loan Collection

1.00  Lunch

2:00  Afternoon Talks
• Alison Clarke (University of Liverpool and the National Gallery, London), In a Better Light: Agnew’s, Spatiality, and Connoisseurial Practice, c.1875–1916
• Rebecca Tilles (Associate Curator of 18th-Century French and Western European Fine and Decorative Arts at Hillwood Estate, Museum & Gardens), The Homes and Collecting Display of Marjorie Merriweather Post
• Laia Anguix (Northumbria University-Department of Arts), ‘In Deplorable Conditions and Totally Inadequate for the Housing of the Collections’: Storage, Conservation, and Access in Public Collections, The Case of the Laing Art Gallery in Newcastle
• Megakles Rogakos (The American College of Greece), The Work of an ACG Art Curator

5.00  Drinks reception

Conference | The Artistic Taste of Nations, 1550–1815

Posted in conferences (to attend) by Editor on May 11, 2019

From the Vrije Universiteit Amsterdam:

The Artistic Taste of Nations: Contesting Geographies of European Art, 1550–1815
Vrije Universiteit Amsterdam, 13–15 June 2019

Organized by Ingrid Vermeulen and Huigen Leeflang

The school of art is a fundamental art-historical concept. When it emerged in the early modern period, it was variously used to indicate academies, the style of art works and local, regional, or national taste. As such it gave rise to an artistic geography, which was debated in the context of academies, art literature, markets, and collections all over Europe. This conference aims to address the vitality as well as the pitfalls of the concept of school for the geography of European art.

T H U R S D A Y ,  1 3  J U N E  2 0 1 9

12.00  Registration

12.30  Welcome by Gert-Jan Burgers (director research institute CLUE+) and Ingrid Vermeulen (Vrije Universiteit)

13.00  Academies of Art and Artistic Nations
Moderator: Arno Witte (KNIR Rome/ Universiteit van Amsterdam)
• Susanne Kubersky-Piredda (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte Rome), Notions of Nationhood and Artistic Identity in 17th-Century Rome
• Maria Onori (Sapienza Università di Roma), Spanish Artists and the Academies: Places of Belonging in the Second Half of the 17th Century in Rome
• Ludovica Cappelletti (Politecnico di Milano), Shaping Architecture: The Case of the Regia Accademia di Pittura, Scultura e Architettura in Mantua

14.45  Break

15.15  Drawings, Connoisseurship, and Geography
Moderator: Klazina Botke (Vrije Universiteit)
• Simonetta Prosperi Valenti Rodinò (Università di Roma ‘Tor Vergata’), Father Sebastiano Resta (1635–1714) and the Italian Schools of Design
• Federica Mancini (Musée du Louvre), Connoisseurship beyond Geography: Some Puzzling Drawings from Filippo Baldinucci’s Personal Collection
• Sarah W. Mallory (Harvard University), Arthur Pond’s Prints in Imitations of Drawings: Connoisseurship and the National School in Early 18th-Century Britain

17.00  Drinks reception

F R I D A Y ,  1 4  J U N E  2 0 1 9

9.00  Registration

9.30  The Taste and Genius of Nations
Moderator: Marije Osnabrugge (Université de Genève)
• Ingrid Vermeulen (Vrije Universiteit), The ‘Taste of Nations’: Roger de Piles’s Diplomatic Views on European Art
• Pascal Griener (Université de Neuchâtel), How Do Great Geniuses Appear in a Nation? A Historiographical Problem for the Enlightenment Period

10.40  Break

11.10  Print Collecting and School Formation
Moderator: Huigen Leeflang (Rijksmuseum)
• Gaëtane Maës (Université de Lille), Between Theory and Practice: Dezallier d’Argenville’s Idea on Print Collections
• Véronique Meyer (Université de Poitiers), Des Notices générales au Manuel du Curieux: Michael Huber et l’Ecole française de gravure (From Notices Générales to Manuel du Curieux: Michael Huber and the French School of Printmaking)
• Stephan Brakensiek (Universität Trier), Chronology and School: Questioning Two Competing Criteria for the Classification of Graphic Collections around 1800

13.00  Lunch break

14.00  Transnational Identities
Moderator: TBA
• Elisabeth Oy-Marra (Johannes Gutenberg Universität Mainz), Towards the Construction of an Italian School: The Transformative Power of Place in Bellori’s Lives
• Marije Osnabrugge (Université de Genève), Claimed by All or Too Elusive to Include: The Place of Mobile Artists in Artist Biographies and the Local Canon
• Ewa Manikowska (Polish Academy of Sciences Warsaw), The Galeriewerk and the Self-Fashioning of Artists at the Dresden Court

15.45  Break

16.15  Practices of Classification
Moderator: Ingrid Vermeulen (Vrije Universiteit)
• Everhard Korthals Altes (Technische Universiteit Delft), The Dutch and Flemish Schools of Painting in 18th-Century Art Literature, Auction Catalogues, and Collections: Together or Apart?
• Huigen Leeflang (Rijksmuseum), Pieter Cornelis van Leyden’s Collections of Prints and Paintings: Content, Organization, and Schools
• Irina Emelianova (Accademia di Architettura di Mendrisio (Ch), «In the school of the Netherlands I joined two schools, Flemish and Holandaise, I even added some German painters»: The Problem of European Artistic Schools in the Context of the Russian Enlightenment

18.30  Conference dinner for speakers and moderators at the Botanical Gardens, Vrije Universiteit

S A T U R D A Y ,  1 5  J U N E  2 0 1 9

9.00  Registration

9.30  Schools Going Public: The Picture Gallery
Moderator: Everhard Korthals Altes (Technische Universiteit Delft)
• Cécilia Hurley (École du Louvre/ Université de Neuchâtel), In Search of a Higher Order: The Organisation of the Munich Hofgartengalerie at the End of the 18th Century
• Christine Godfroy-Gallardo (HICSA Université Paris I – Sorbonne), An Organisation by Schools Considered Too Commercial for the Newly Founded Louvre Museum
• Pier Paolo Racioppi (Fondazione IES Abroad Italy Rome), The ‘Louvre Effect’: The New Arrangement of the Vatican Pinacoteca and Guattani’s Catalogue I più celebri quadri delle diverse scuole italiane (1820)

11.15  Break

11.30  Panel discussion and closing remarks

Study Day | Ceramics as Sculpture

Posted in conferences (to attend) by Editor on May 9, 2019

Pierre Giovanni Volpato, Personification of the River Nile, ca. 1785–95, hard-paste biscuit porcelain, Giovanni Volpato’s Factory Rome, 30 × 59 × 30 cm (New York: The Metropolitan Museum of Art; Purchase, The Isak and Rose Weinman Foundation Inc. Gift, 2001.456).

◊  ◊  ◊  ◊  ◊

From The French Porcelain Society:

Ceramics as Sculpture, French Porcelain Society Study Day
Masterpiece London, 28 June 2019

The French Porcelain Society is pleased to announce that it will be holding a study day entitled Ceramics as Sculpture, celebrating figurative art, at this year’s Masterpiece London, on Friday, 28 June 2019. The conference aims to open up wider discussion about the contemporary and historical contexts for ceramic sculpture and its place within art history. It also seeks to underline the primacy of sculpture in all the decorative arts, bringing together scholars, curators, artists, and dealers working in the interconnected fields of ceramics and sculpture. Tickets: £45 (includes free entrance to Masterpiece, lectures, tour, tea and coffee, and champagne reception), £20 (student concession). For additional information, please contact Caroline McCaffrey-Howarth, c.mccaffrey-howarth@leeds.ac.uk.

P R O G R A M M E

9.30  Registration

10.00  Welcome by Oliver Fairclough, FSA (Chairman of the French Porcelain Society) and introduction by Caroline McCaffrey-Howarth (V&A/RCA and University of Leeds)

10.10  Session One
• Federica Carta (PhD Candidate, Université de Picardie Jules Verne and at the Università degli Studi di Perugia), Ceramic Sculpture: Ornament and Figuration in the Chapels by Luca Della Robbia at Impruneta
• Antoine D’Albis (Former Chief Scientist at the Manufacture Nationale de Sèvres), La Source ou la Naïade en Porcelaine de Vincennes-Sèvres du Musée du Louvre, New Research
• Elizabeth Saari Browne (PhD Candidate, Massachusetts Institute of Technology), Sculpting le Goût Pittoresque: Clodion’s Bacchic Subjects
• Matthew Martin (Lecturer in Art History and Curatorship, University of Melbourne; Former Curator of International Decorative Arts at the National Gallery of Victoria, 2006–18), Porcelain and Sculptural Aesthetics: Untangling a Troubled Relationship

11.30  Tea and coffee

12.00  Session Two
• Alicia Caticha (PhD Candidate, University of Virginia), Casting Replication: Porcelain and Sculpture Networks in Eighteenth-Century Paris
• Tamara Préaud (Former Archivist of the Manufacture Nationale de Sèvres), Sculpture and Personal Creativity at Sèvres during the Second Empire, 1850–70
• Oliva Rucellai (Former Curator of the Museo Richard-Ginori della Manifattura di Doccia in Sesto Fiorentino, 2002–14), Gio Ponti and Ceramic Sculpture for Richard-Ginori: An Art Director’s Approach
• Martin Chapman (Curator in Charge, European Art, interim; Curator in Charge, European Decorative Arts and Sculpture, The Fine Arts Museum of San Francisco), Accident or Design? Ceramic Sculpture in San Francisco’s Legion of Honor

Thank you by Dame Rosalind Savill, DBE, FBA, FSA (President of the French Porcelain Society, Former Director of the Wallace Collection)

13.30  Lunch break

15.00  Private group tours to ceramics and sculpture stalls at the Masterpiece Fair

17.00  Champagne reception on the terrace

Journée d’étude | Le marché de l’art, 1750–1800

Posted in conferences (to attend) by Editor on May 1, 2019

From H-ArtHist:

Le marché de l’art dans la seconde moitié du XVIIIe siècle: Expertises, négociations et controverses
Institut national d’histoire de l’art, Paris, 5 June 2019

Les marchands se trouvent au cœur d’un vaste réseau culturel et artistique à cette période et deviennent les premiers intermédiaires entre l’œuvre et l’amateur d’art. Objets de curiosité, arts décoratifs, tableaux, dessins et gravures font tous partie des biens constituant ce négoce. Durant cette époque particulièrement dynamique, tant du point de vue historique que culturel, plusieurs controverses se font jour en lien avec ce commerce florissant. De nombreuses polémiques émergent entre différentes figures de marchands influents, certains qualifiant même leurs confrères de « brocanteurs ». Ces polémiques signalent-elles une volonté de s’imposer dans un secteur devenu fortement concurrentiel ? Où ne sont-elles que la manifestation de l’ambition de voir reconnaître une réelle distinction de compétences entre les marchands ? Des débats éclatent aussi entre les marchands et leur clientèle. Les amateurs, à la recherche constante d’œuvres authentiques, originellement créées par un artiste, sont ainsi confrontés aux problèmes que posent la copie et le faux, et à l’honnêteté parfois contestable des négociants. S’agit-il alors d’un problème de connaissances et de compétences des marchands ou d’un manque manifeste de sincérité au profit d’un désir grandissant d’enrichissement ? Enfin, cette journée s’intéressera aux échanges entre la France et ses pays voisins et, plus particulièrement, à la visibilité des pratiques marchandes contestées et à la manière dont les Français sont perçus à l’étranger durant cette période.

Journée d’étude organisée par le GRHAM (Groupe de Recherche en Histoire de l’Art Moderne)
• Florence Fesneau (université Paris 1 – Panthéon-Sorbonne)
• Barbara Jouves (université Paris 1 – Panthéon-Sorbonne)
• Maxime Georges Métraux (Sorbonne université)
• Alice Ottazzi (université Paris 1 – Panthéon-Sorbonne / Université de Turin), Marine Roberton (université Paris 1 – Panthéon-Sorbonne)
• Maël Tauziède-Espariat (université de Bourgogne)

P R O G R A M M E

9.00  Accueil des participants et du public

9.15  Introduction du GRHAM

9.30  Session 1: Réputation et autorité
Modération: Darius Spieth
• Ginevra Odone (Doctorante en histoire de l’art, Université de Lorraine / Università La Sapienza di Roma), Processus de négociation et renommé des Antiquaires à travers les lettres du comte de Caylus
• Moana Weil-Curiel (Historien de l’art indépendant), De Strasbourg à Paris, ascension et chute de Jean-Henri Eberts (1726–1803): De la banque au négoce, des tableaux au mobilier de la couronne

10.45  Pause

11.00  Session 2: Création de valeurs
Modération: Darius Spieth
• Patrick Michel (Professeur des universités, Université de Lille 3), Les marginalia d’un exemplaire du catalogue de la vente du prince de Conti: Un regard critique sur l’une des grandes ventes publiques de la seconde moitié du XVIIIe siècle
• Vincent Chenal (Chargé d’enseignement pour la Maîtrise d’études avancées en conservation du patrimoine et muséologie, Université de Genève), Établir une « échelle moyenne » de la valeur des œuvres d’art dans la « patrie des fantaisies et de l’inconstance dans les goûts » : Quelques aspects de cette pratique Jean-Baptiste-Pierre Lebrun prêteur sur gages

12.45  Déjeuner

14.00  Session 3: L’objet en question
Modération: Patrick Michel
• Jean-Baptiste Corne (Doctorant, École Pratique des Hautes Etudes /École du Louvre), De bric et de broc: Aux origines du marché de la boiserie
• Darius Spieth (San Diego Alumni Association Chapter Alumni Professor of Art History), Le paradoxe du marché de l’estampe pendant la Révolution française

15.15  Pause

15.30  Session 4: Regards sur le marché de l’art européen
Modération: Patrick Michel
• Bénédicte Miyamoto (Maître de conférences, Université Sorbonne Nouvelle –Paris 3), Visibilité des pratiques marchandes controversées outre-Manche: Intermédiaires polémiques, lots ravalés, et transparence
• Paolo Coen (Professor, Università degli studi di Teramo), The Art Market in Rome in the Second Half of the Eighteenth Century: Some Internal and External Communication Tools

16.45  Conclusion du GRHAM
• Claude Aguttes (Commissaire-priseur), Passé-présent, réflexion sur le marché de l’art

Conference | New Directions in British Art and Architecture, 1550–1850

Posted in conferences (to attend) by Editor on April 25, 2019

Next week at Columbia:

Picture, Structure, Land: New Directions in British Art and Architecture, 1550–1850
Columbia University, New York, 3 May 2019

Organized by Meredith Gamer and Eleonora Pistis

This one-day conference will bring together leading and emerging scholars working in and across the fields of British art and architectural history, broadly defined. Even with the rise of interdisciplinary studies, the study of the visual arts and the built environment in early modern Britain have remained largely separate endeavors. Our aim is to put the two in dialogue and, in doing so, to test, blur, and redraw the boundaries of each. For any questions, please contact britishartarch@gmail.com.

Register here»

P R O G R A M

9:30  Opening Remarks from Meredith Gamer and Eleonora Pistis (Columbia University)

10:00  Fluid Boundaries
Moderator: Alessandra Russo (Columbia University)
• Christy Anderson (University of Toronto), Castles of the Sea: Ships and Architecture in Early Modern England
• Emily Mann (Courtauld Institute of Art), Land, Sea, and the Space in Between: The Visual World of the Overseas Trading Company

11:15  Coffee Break

11:45  Shifting Perspectives
Moderator: Zeynep Celik Alexander (Columbia University)
• Christine Stevenson (Courtauld Institute of Art), Naming Names in Early Modern English Architecture
• Matthew Hunter (McGill University), ‘The Sun is God’: Turner’s Insurance

1:00  Lunch Break

2:30  Performing Identities
Moderator: Barry Bergdoll (Columbia University)
• Matthew Reeve (Queen’s University), Body Politics and Gothic Architecture in the Long Eighteenth Century
• Douglas Fordham (University of Virginia), Discovering Britain in Aquatint: William Daniell’s A Voyage Round Great Britain (1814–25)

3:45  Coffee Break

4:15  Transitional Objects
Moderator: Tim Barringer (Yale University)
• Sylvia Houghteling (Bryn Mawr College), Tapestry between Architecture and Chintz: A Medium in Transition, ca. 1700
• Romita Ray (Syracuse University), China Connections: Tea and Colonial Calcutta

5:30  Refreshments

This event is made possible by the generous support of the Dr. Lee MacCormick Edwards Charitable Foundation, which honors the legacy of Columbia alumna Dr. Lee MacCormick Edwards, GSAS’78, GSAS’81, GSAS’84, an art history scholar, author, and photographer who contributed richly to the cultural and artistic life of both the United States and Australia.

Conference | (Un)Like: Life Writing and Portraiture

Posted in conferences (to attend) by Editor on April 25, 2019

From King’s College:

(Un)Like: Life Writing and Portraiture, c.1700–the Present
King’s College London, Strand Campus, 3 May 2019

Portraiture and life-writing have long been understood as genres that, for all their differences, share key concepts. As both genres are concerned with the individual figure, they rely on particularities and specificities, on telling events and characteristic anecdotes and, most importantly, on a representative depiction of the subject in question which was similar or like. Resemblance, similarity, likeness—these were the terms by which works were judged. A letter to the Daily Gazetteer remarked in 1742: “I think it is agreed on all Hands that in Biography, as it is in Portrait Painting, a Likeness is to be preserved, if we would give satisfaction in either Science.” Importantly (and to complicate the study of likeness), the media concerned with likeness were likewise considered to be alike. The art theorist Jonathan Richardson famously wrote in 1715: “to sit for one’s Portrait is like to have an Abstract of one’s Life written and published, and to have one consigned over to Honour or Infamy.” Richardson referred to the long tradition of inter- or multi-media portraying and life-writing practices, the linking of literary with visual portraits for mutual benefit and the reciprocal bolstering of genres by providing additional information or another perspective. Next to resemblance and medial proximity, Richardson introduces a third aspect: appreciation or emotional response to portraits and biographies. Samuel Johnson would later write in the Idler no. 45 (1759) that “Every man is always present to himself, and has, therefore, little need of his own resemblance; nor can he desire it, but for the sake of those whom he loves, and by whom he hopes to be remembered.” Likeness, it appears, therefore intersects with the representation’s potential to make a person not only like, but also likeable, to have third parties appreciate both the individuals and their representations. This notion of recognition—understood as identification—being closely linked with respect and social approval still shows in such phenomena as Facebook and Instagram, where ‘to like’ equals acceptance, affirmation, or recommendation, signalling approval of the online persona.

This one-day conference explores the different layers of likeness in portraiture and life writing in Europe, from the beginning of the eighteenth century to the present day. Subjects include authors, inventors, painters, self-painters and selfie-takers, robots, realists, surrealists, expressionists, and others, from literature, painting, photography, and film. How does the concept of likeness appear, converge and change across these instances of portraying and portraiture?

Registration information is available here»

P R O G R A M M E

9.00  Welcome and Introduction by Clare Brant

9.15   Panel 1
• Franziska Gygax, Portraying (in) Language: Gertrude Stein’s Literary Portraits
• Max Saunders, Imaginary Portraits: Alfred Cohen and the Rabbi from Dublin
• Alex Belsey, Maintaining Distance: Techniques of Removal and Depersonalisation in the Work of Keith Vaughan

10.30  Panel 2
• Nadja Gernalzick, Queerly (Un)Recognizable: Jerome Hill’s Film Portrait
• Darragh O’Donoghue, Auto/biography in the Work of Disabled Artist Stephen Dwoskin

11.20  Coffee

11.35  Panel 3
• Tim Gorichanaz, Self-Portraiture: A Conceptual Exploration
• Eliza Maureen Altenhof, Describing One’s Self, Depicting One’s Self: The Self-Portrait in Contemporary Literature and Visual Arts in the Context of Illness and Death
• Ksenia Gusarova, Posing as Oneself: Normativity and Individuality in Current Photographic Practice

12.15  Panel 4
• Santiago Gonzales Villajos, Portraying Miguel de Cervantes: An Enlightenment’s Task and Its Factual Deconstruction
• Emrys Jones, The Portrait on the Screen: Film Narrative and Eighteenth-Century Art
• Sofya Dmitrieva, Fancy Picture / Sujet de Caprice: Defining the Genre in the Eighteenth-Century European Painting

1.15  Lunch

2.00  Panel 5
• Claudine van Hensbergen, Behn’s Elusive Likeness, Portraiture’s Place in the Biographical Account
• Olivia Ferguson, ‘The Worst Part of Wordsworth’: Intimacy, Accuracy, and the Author Portrait in the Romantic Period
• Leigh Wetherall Dickson, Painting Celebrity: Capturing the Character of Lady Caroline Lamb

3.15  Panel 6
• Julian North, Portraits for the People: Margaret Gillies’s Portrait of Charles Dickens
• Alba Campo Rosillo, The Medium Makes Publicity: Materiality in The Inventor Portrait by George Peter Alexander Healy
• Ana Belén Martinéz García, Portraying the Activist Likeness as/in Intermedia Practice

4.30  Tea

5.00  Panel 7
• David Veltman, Portraiture as a Mirror: Transcending the Limits of Representativeness in Felix de Boeck’s ‘Double’ Portraits
• Martin Schieder, The Non-Pictorial Portrait: Armani Portrait-robot d’Iris Clert (1960)
• Teresa Bruś, Increase and Excess in Portraiture: S. I. Witkiewicz

6.15  Drinks

6.30  Discussion led by Kerstin Pahl and Kate Retford

Concert and Symposium | Black Music in Eighteenth-Century London

Posted in conferences (to attend) by Editor on April 23, 2019

This Thursday at YCBA:

Black Music in Eighteenth-Century London
Yale Center for British Art, New Haven, 25 April 2019

Tunde Jegede (Photo by Yoshitaka Kono).

This concert will feature Tunde Jegede, a renowned cellist and master kora player who specializes in the West African classical music tradition; Robin Jeffrey, a versatile performer on instruments of the lute and guitar families; Corey Shotwell, a celebrated vocalist; and Nathaniel Mander, an exciting young harpsichordist. The performances are free and open to all.

In October 2017, the Yale Center for British Art, Paul Mellon Centre for Studies in British Art (PMC), Historic Royal Palaces (HRP), and Handel & Hendrix in London (HHL) co-hosted a scholarly workshop entitled Black Music: Its Circulation and Impact in Eighteenth-Century London. The program was produced in association with Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World, an exhibition that had been co-organized by the Center and HRP, and which then was on display at Kensington Palace. Moderated by Michael Veal (Professor of African Music, African American Studies, and American Studies at Yale) and attended by scholars from around the world, the workshop opened with a series of concerts and performances held throughout HHL, which set the stage for a rich and productive exchange the following day at the PMC. Thanks to the generosity of Laura and James Duncan, Yale BA 1975, Friends of the Center who underwrote the original workshop, this program will be reconstituted for a New Haven audience on Thursday, April 25, at 5:30pm. The performance will be followed on Friday, April 26, by a daylong symposium Black Music: Its Circulation and Impact in Eighteenth-Century London, also at the Center.

This Friday at YCBA:

Black Music: Its Circulation and Impact in Eighteenth-Century London
Yale Center for British Art, New Haven, 26 April 2019

This daylong symposium, which follows the musical performance Black Music in Eighteenth-Century London at the Center on Thursday, April 25, will explore the complex, long-standing relationship between African and Western musical traditions, especially within London metropolitan society, and to recognize the brilliance of black composers and performers who, against great odds, contributed to the musical culture of the age. The program is hosted by the Yale Center for British Art and co-organized with Historic Royal Palaces, Handel & Hendrix in London, and the Paul Mellon Centre for Studies in British Art, with generous support from Laura and James Duncan, Yale BA 1975. Admission is free, though space is limited.

Conference | Stereotypes

Posted in conferences (to attend) by Editor on April 15, 2019

This week at The Huntington:

Stereotypes and Stereotyping in the Early Modern World
The Huntington Library, Art Collections, and Botanical Gardens, San Marino, 19–20 April 2019

The use and abuse of stereotypes is not limited to present-day politics. In this conference, experts in British and American history examine stereotypes related to such vital issues as race, religion, gender, nationality, and occupation. The program explores how stereotyping then, as now, persisted across different spheres of life; how individuals and groups responded; and with what consequences.

Funding provided by The Huntington’s William French Smith Endowment.

F R I D A Y ,  1 9  A P R I L  2 0 1 9

8:30  Registration and coffee

9:15  Welcome by Steve Hindle (The Huntington) and opening remarks by Koji Yamamoto (University of Tokyo)

9:30  Session 1: Popery and Religious Stereotypes
Moderator: Koji Yamamoto
• Jennifer Anderson (California State University, San Bernardino), Controversial Figures as Synecdoches: Thomas Nash’s Distorted Snapshots of Puritans and Catholics
• Peter Lake (Vanderbilt University), Puritans and Projectors in the Plays of Ben Jonson
• Abigail Swingen (Texas Tech University), Whigs, Tories, and Jacobites: Stereotypes and the Financial Revolution

12:30  Lunch

1:30  Session 2: Economy, Occupations, and Gender
Moderator: Peter Lake
• Koji Yamamoto, Beyond ‘Keywords’: History Plays, Stereotypes, and the Staging of Political Economy in Late Elizabethan England
• Jane Whittle (University of Exeter), The Early Modern Housewife: A Positive Stereotype of the Working Woman?
• Lisa Cody (Claremont McKenna College), Mind, Body, Soul, and Mirrors: Stereotyping Women in Early Modern England

S A T U R D A Y ,  2 0  A P R I L  2 0 1 9

9:00  Registration and coffee

9:30  Session 3: Colonies and Empire
Moderator: Koji Yamamoto
• Kristen Block (University of Tennessee, Knoxville), Creating and Fighting Stereotypes of Sin and Sexual Excess: Leprosy and Race in the Eighteenth-Century Caribbean
• Valerie Forman (New York University), Managing Slave Plantation Labor: Or, How Productivity Became Beautiful and Accumulation Anti-tyrannical. A Study of the Political Economy of Sugar in the Early Modern Transatlantic World
• Sharon Block (University of California, Irvine), Daily Descriptions as Racemaking in Colonial North America

12:30  Lunch

1:30  Session 4: Stereotypes in Archives and on Stage
Moderator: Peter Lake
• Bridget Orr (Vanderbilt University), Re-presenting Character: Dramaturgy Versus Performance in Eighteenth-Century Stereotypes
• Miles Parks Grier (Queens College, City University of New York), Staging the Transferable Stigma of Early Modern Blackness
• Brendan Kane (University of Connecticut), Explicit Bias and the Politics of Difference in Irish-English Encounter

4:30  Closing Remarks

Exhibition | Making Time: The Art of the Kentucky Tall Case Clock

Posted in books, catalogues, conferences (to attend), exhibitions by Editor on March 30, 2019

Now on view at the Speed Art Museum:

Making Time: The Art of the Kentucky Tall Case Clock, 1790–1850
Speed Art Museum, Louisville, 2 February — 16 June 2019

Curated by Scott Erbes

Case attributed to Daniel Spencer (American, about 1741–1796), Lexington, Fayette County, Kentucky, Tall Case Clock, 1793–96; cherry, poplar, chestnut, walnut; eight-day brass and steel movement, 98 inches high (Cox Collection).

Making Time: The Art of the Kentucky Tall Case Clock, 1790–1850 is a first-of-its-kind exhibition devoted to early Kentucky tall case, ‘grandfather’ clocks. The exhibition showcases twenty-seven clocks made across a wide swath of Kentucky from the 1790s through the 1840s. The majority of the clocks come from family and private collections and have rarely, if ever, been shared with the public. The exhibition is accompanied by a fully illustrated scholarly catalog that presents significant new research on early Kentucky cabinetmaking and the state’s watch and clock trade.

When shown side-by-side, the clocks reveal the expert hands of many Kentucky artisans; illustrate the hidden world of gears, bells, weights, and pendulums that kept the clocks running and chiming; and record the complex webs of craft, taste, trade, and technology needed to make these practical works of art. Throughout the exhibition, the clock cases illustrate the talents of early Kentucky cabinetmakers, both native-born and those who came to the state in search of success. These artisans transformed local woods like cherry and walnut into towering cases that frequently incorporate flourishes like inlaid decoration, carved ornament, and richly figured veneers. The results range from urbane, Federal-style creations to more idiosyncratic, often boldly inlaid forms. Numerous Kentucky silversmiths are associated with the intricate movements housed within the various clocks.

Just in Time: Exploring Kentucky Tall Case Clocks
Speed Art Museum, Louisville, 18 May, 9:00–3:00

Come join us for a study day exploring the backstories behind early Kentucky tall case clocks with the experts who created the exhibition Making Time: The Art of the Kentucky Tall Case Clock, 1790–1850. Enjoy a morning of presentations focused on the art, history, and technology of these Kentucky treasures; an opportunity to purchase signed copies of the exhibition’s accompanying catalog; and an afternoon tour of the exhibition with its creators. $75.

Scott Erbes (Curator of Decorative Arts and Design, Speed Art Museum), From the Beginning: An Introduction to Kentucky Tall Case Clocks

Early Kentucky tall case clocks tell many stories: of the talented artisans who created them, of local and regional practices, of fashionable taste, of international trade, of the nature of time and timekeeping in Federal America, and of family memory. This overview will touch on these themes and others, setting the stage for the day’s conversations.

Mack Cox (independent researcher and collector), Making the Case for the Art in Kentucky Tall Case Clocks

Kentucky tall case clocks consist of locally made cases mated with clock movements, dials, and other components often made elsewhere. While the latter are often well documented, the Kentucky-made portions and artistic expressions of early Kentucky craftsmen are nearly unknown. Based on over a decade of serious study of Kentucky furniture, this lecture will shed light on the art and Kentucky parts of the Kentucky tall case clock.

Bob Burton (independent researcher and collector), What Makes It Tick: Inside Kentucky Tall Case Clocks

The movements and related parts in Kentucky tall case clocks vary widely in type, materials, and origins. This discussion will reveal these secrets, exploring the time-keeping mechanisms, painted dials, and other components that marked the time in early Kentucky clocks.

Greg Black (independent researcher and collector), Will the Real Elijah Warner Please Stand Up?

Over the past decades, much has been written about Elijah Warner of Lexington, Kentucky, especially that he was a cabinetmaker and clockmaker. The recent discovery of nineteenth-century documents and advertisements cast new light on Warner’s training and occupation and the goods he produced and sold. This presentation will review this information to bring the real Elijah Warner into better focus.

Salon du Dessin 2019

Posted in Art Market, conferences (to attend), exhibitions by Editor on March 28, 2019

From the press kit:

Salon du Dessin 2019
Palais Brongniart, Paris, 27 March — 1 April 2019

The eagerly anticipated Salon du Dessin will take place again this spring under the vaulted roof of Paris’s Palais Brongniart and will once again feature a selection of outstanding works on paper. among the 39 exhibitors from around the world will be four handpicked new galleries and two that are returning after an absence of a few years. Among the treasures on display will be rare drawings by egon schiele and Gustav Klimt, presented by the Austrian gallery Wienerroither & Kohlbacher, and a solo show of the work of contemporary artist Jean-Baptiste Sécheret on the stand of Galerie Jacques Elbaz. The German dealer Martin Moeller will celebrate 100 years of drawings from his country, while the Galerie de la Présidence features drawings by sculptors.

Juan Antonio Conchillos y Falcó, Academic Study, 1703; offered by Artur Ramon Art ($36,000).

The 28th edition of the art fair will also host two museum-level exhibitions. Festivities in Paris will feature drawings from the collection of the Musée Carnavalet-Histoire de Paris (currently closed for renovation until late 2019), while the Maison Chaumet will exhibit drawings of its jewelry in an exhibition on the theme of nature, curated by botanist Marc Jeanson, who worked on the magnificent exhibition Jardins at the Grand Palais in 2017.

Other highlights of the Salon du Dessin will be the presentation of the 12th Daniel and Florence Guerlain Drawing Prize and the return of a program of international symposia, which will focus on the performing arts this year. Drawing Week, a highly popular off-site event organized in partnership with over 20 museums and institutions, will offer access to graphic arts collections that are usually off-limits to the public.

W E D N E S D A Y ,  2 7  M A R C H  2 0 1 9

Occupying the Stage: Sets and Costumes
Chair: Jean-Claude Yon (Professor at the University of Saint-Quentin-en-Yvelines)

• Emmanuelle Brugerolles (Curator General at the École Nationale Supérieure des Beaux-Arts, Paris), Georges Focus and the Theater: Sets and Staging
• Rudi Risatti (Curator at the Theatermuseum in Vienna), The Magic Space: Technical and Aesthetic Solutions in Baroque Scenography as Seen in Drawings from the Theatermuseum in Vienna
• Marc-Henri Jordan (independent art historian, doctoral student, University of Lausanne), The Royal Academy of Music in Search of Draftsmen and Painters: Identification of Decorative Drawings and Clothing, ca. 1780
• Catherine Join-Diéterle (Curator General, former director of the Musée Galliera, Paris), Theater Sets in the Romantic Era: A New Approach to the Stage Area
• Marine Kisiel (Painting Curator at the Musée d’Orsay), ‘A Unique System of Lines’: The Body in Space in the Work of Edgar Degas
• Mathias Auclair (Director of the Music Department at the Bibliothèque Nationale de France, Paris), The Stage Seen as a Painting: The Birth of Scenography at the Paris Opera, 1914–1972

T H U R S D A Y ,  2 8  M A R C H  2 0 1 9

Occupying the City: Festivities and Ceremonies
Chair: Michel Delon (Professor at the University of Paris-IV Sorbonne)

• Franca Varallo (Professor at the university of Turin), Onorato Tiranti’s Il Laberinto de Groppi and Drawings for Festivities by Tommaso Borgonio
• Jérôme de La Gorce (Emeritus Research Director, CNRS- Centre André Chastel), Collections of Drawings Held in Paris and Madrid Illustrating Important Celebrations of the Marriage of Madame to the Infant of Spain, 1739
• Maria Ida Biggi (Director of the Centro Studi per la Ricerca Documentale sul Teatro Europeo Fondazione Cini, Venice), Le feste sull’acqua: Apparati per Napoleone
• Gaëlle Lafage (Postdoctoral Researcher, Université de Paris Sorbonne), Drawing as a Source of Study of Fireworks
• José de Los Llanos (Chief Curator, Head of the Musée Carnavalet’s Graphic art Department) and David Simonneau (Conservation Assistant, Musée Carnavalet Graphic art department), Festivals and Spectacles in the Collection of the Musée Carnavalet-Histoire de Paris, 17th–19th Centuries